About The Artist
When I was considering a name to describe my art, one of the word combinations that came to mind was "intuitive diagrams." I am compelled to describe my pieces as illustrations of architecture coming from a place that makes a lot of sense to some part of me. Inherent in the process is playing with balance, as if each piece, shape and color has weight. Within exists some form of "random precision"
As I am drawing, I actually can apply a tone to the shapes that I hear. Much of the time while I draw I listen to music that seems to open me up to multiple levels of experience. I often actually create the music with a process I call "The Overlay." Years ago, I became bored with the music I was listening to, and experimented with a 2-channel mixer, overlaying seemingly disparate pieces of music to create a third alternative.
It was through the creating and listening that I became instinctually aware of the mathematical dance between color, tone shape and sound; a kind of a tonal alchemy. I am then opened to some surge or pulse that dictates the lines and the details I am to create. What often happens at this point is that I feel as I am deciphering a code. I begin, and only in hindsight, when the piece is done, am I able to return to it and know or feel what it is attempting to communicate.
I look at shape and the choosing of them, and what follows is an experience - like I am plugging into some circuit board, and it is clear to me immediately whether it is working or not - like some kind of immediate feedback loop. If I make a move that initially feels like a mistake, there is titillation with turning mistakes into deliberate intent. This is one reason that I always start in ink, so that these seeming mistakes cannot be corrected. Rather, they have to be transformed through the process (of opening up again.)
When I look upon the completed creation, I am reminded of childhood and my fascination with viewing things in the world, both solid and human, with a kind of nano microscope, imagining worlds within worlds, and other worlds beyond what our usual 3D experience dictates.
Recently, a friend of mine offered up this comment to describe how she is effected by my work: "...the contrast of intense, focused lines and soothing lush color washes in Scott's art mimics my own brain activity, so it makes for comforting yet stimulating contemplation. While his art would technically be considered abstract, the sense of tightly controlled order, about to spin out of control, actually faithfully mirrors reality."
I hope you enjoy looking as much as I enjoy doing!
Scott
As I am drawing, I actually can apply a tone to the shapes that I hear. Much of the time while I draw I listen to music that seems to open me up to multiple levels of experience. I often actually create the music with a process I call "The Overlay." Years ago, I became bored with the music I was listening to, and experimented with a 2-channel mixer, overlaying seemingly disparate pieces of music to create a third alternative.
It was through the creating and listening that I became instinctually aware of the mathematical dance between color, tone shape and sound; a kind of a tonal alchemy. I am then opened to some surge or pulse that dictates the lines and the details I am to create. What often happens at this point is that I feel as I am deciphering a code. I begin, and only in hindsight, when the piece is done, am I able to return to it and know or feel what it is attempting to communicate.
I look at shape and the choosing of them, and what follows is an experience - like I am plugging into some circuit board, and it is clear to me immediately whether it is working or not - like some kind of immediate feedback loop. If I make a move that initially feels like a mistake, there is titillation with turning mistakes into deliberate intent. This is one reason that I always start in ink, so that these seeming mistakes cannot be corrected. Rather, they have to be transformed through the process (of opening up again.)
When I look upon the completed creation, I am reminded of childhood and my fascination with viewing things in the world, both solid and human, with a kind of nano microscope, imagining worlds within worlds, and other worlds beyond what our usual 3D experience dictates.
Recently, a friend of mine offered up this comment to describe how she is effected by my work: "...the contrast of intense, focused lines and soothing lush color washes in Scott's art mimics my own brain activity, so it makes for comforting yet stimulating contemplation. While his art would technically be considered abstract, the sense of tightly controlled order, about to spin out of control, actually faithfully mirrors reality."
I hope you enjoy looking as much as I enjoy doing!
Scott
